Hello everyone, today I take this sequence on interpersonal communication with some 'delay because of technical problems. Today we will discuss the decisive phase of public speaking: the moment of prayer itself.
Contrary to what suggested by the Ten Commandments of public speaking, that plastered the relationship, you learn to be interpreters of the message and not the characters, leaving room for irony, showing their emotions and seeking dialogue with the public. Communicate in public is not an easy task and may increase the number of people who listen, the greater the difficulty. You lose contact, you have to reach so many different minds, we must confront the emotional universes often opposite and decreases the perception of visible feedback. The speaker, as the actor, facing the stage with the body, head, heart, and must be perfectly centered on itself if it wants to achieve a high level of performance. Personal style originates charisma, that is the charm that attracts people like a magnet and open to listening. The speakers have a large charismatic eloquence, of a vocabulary rich, flexible voice. They move with great ease on stage and, like the great players are able to turn a "duck" in a satirical, to apply to so many people talk as if with a friend, with familiarity and empathy. Dote essential to public speaking is the ability to concentrate for long periods of time. He walks in and starts, without waiting for nods of approval from the audience. While on the one hand, the speaker must remain in emotional contact with your audience, from another he must also sapersi isolare dall’ambiente esterno (dai rumori, dai disturbi), deve procedere lungo la strada del proprio pensiero. La timidezza si vince più probabilmente "buttandosi" nelle situazioni, di getto, affrontando il disagio di esporsi e lasciando la comodità del vivere da osservatori degli altri. Nelle scuole di teatro è la prima cosa che si insegna ai futuri attori. Provare, riprovare, imparare ad ascoltare quell’eco che alle prime esperienze continua a risuonare: il battito accelerato, la voce che rimbomba, che esce e si libera sempre più dalle emozioni negative. La timidezza si vince con la tenacia, affrontando la paura. L’ansia da prestazione è generata dalla paura del giudizio cui ci si espone. Le persone in preda anxiety tend to hasten the speeches, to come to conclusions as soon as possible to get rid of that weight that is almost going to apnea. Other people with anxiety overwhelm the audience with a torrent of words, too many, and these too fast. The art of public speaking is also slowly build communication, reflection, experience the silence as an opportunity to concentrate, slow to tap, paradoxically, the anxiety. The speaker hardly perfectionist like to the public. The people need peace of mind to really listen, should not experience the nervousness of the speaker, nor the attempts to portray all set to 100%. Oratory on the incident (such as slips, gaffes ducks) are good communicators laugh first. Often, they are also able to use that incident as an element of communication. Non-verbal communication, expressed through the body, transmits much more than words, because it is an emotional communication, unconscious. The mood of the speaker is declared to the public without intentionality. Trying to hide the emotions and block the body only produces a ludicrous effect: in this sense, the speaker does not have the actor's ability to reproduce gestures expected, nor should acquire it. The models of the past offered the image of speakers tasks, strutting, almost plaster, clung to a lectern
. Even the best sellers American Decalogues disturbing spread of what was right or wrong in public speaking, sowing panic among the novices and providing stereotyped models to experts. In reality there are no rules, it is important to "get" the people, establish a dialogue, although apparently there is no answer from the audience. How? Being truly himself up with great enthusiasm and availability. The reporter has to be the interpreter of his message, but it should not ever create a character. This becomes a caricature, the mask: a filter that is generated unacceptable by reason and stops the spontaneous emotion. It 's more interesting to hear a speaker say: "I am excited" who do not suffer with him while he sweats, he moves awkwardly, not find the words, but denies the emotion beneath a mask of apparent tranquility. However, some considerations on the body are believed to be important for public speaking. For example, the eye should be addressed to any audience, and occasionally stopped on a group of people: in this way, the view will make everybody feel involved, and to dwell on a few, always different, you may want to personalize the . In the dining room must move strutting stay in one place creates boredom. Finally, the entry must be an active agent, to change the tone and amplitude to give rhythm to the statement.
For today I would stop here, I greet you and appearance next Wednesday with the final post on public speaking. Hello
Contrary to what suggested by the Ten Commandments of public speaking, that plastered the relationship, you learn to be interpreters of the message and not the characters, leaving room for irony, showing their emotions and seeking dialogue with the public. Communicate in public is not an easy task and may increase the number of people who listen, the greater the difficulty. You lose contact, you have to reach so many different minds, we must confront the emotional universes often opposite and decreases the perception of visible feedback. The speaker, as the actor, facing the stage with the body, head, heart, and must be perfectly centered on itself if it wants to achieve a high level of performance. Personal style originates charisma, that is the charm that attracts people like a magnet and open to listening. The speakers have a large charismatic eloquence, of a vocabulary rich, flexible voice. They move with great ease on stage and, like the great players are able to turn a "duck" in a satirical, to apply to so many people talk as if with a friend, with familiarity and empathy. Dote essential to public speaking is the ability to concentrate for long periods of time. He walks in and starts, without waiting for nods of approval from the audience. While on the one hand, the speaker must remain in emotional contact with your audience, from another he must also sapersi isolare dall’ambiente esterno (dai rumori, dai disturbi), deve procedere lungo la strada del proprio pensiero. La timidezza si vince più probabilmente "buttandosi" nelle situazioni, di getto, affrontando il disagio di esporsi e lasciando la comodità del vivere da osservatori degli altri. Nelle scuole di teatro è la prima cosa che si insegna ai futuri attori. Provare, riprovare, imparare ad ascoltare quell’eco che alle prime esperienze continua a risuonare: il battito accelerato, la voce che rimbomba, che esce e si libera sempre più dalle emozioni negative. La timidezza si vince con la tenacia, affrontando la paura. L’ansia da prestazione è generata dalla paura del giudizio cui ci si espone. Le persone in preda anxiety tend to hasten the speeches, to come to conclusions as soon as possible to get rid of that weight that is almost going to apnea. Other people with anxiety overwhelm the audience with a torrent of words, too many, and these too fast. The art of public speaking is also slowly build communication, reflection, experience the silence as an opportunity to concentrate, slow to tap, paradoxically, the anxiety. The speaker hardly perfectionist like to the public. The people need peace of mind to really listen, should not experience the nervousness of the speaker, nor the attempts to portray all set to 100%. Oratory on the incident (such as slips, gaffes ducks) are good communicators laugh first. Often, they are also able to use that incident as an element of communication. Non-verbal communication, expressed through the body, transmits much more than words, because it is an emotional communication, unconscious. The mood of the speaker is declared to the public without intentionality. Trying to hide the emotions and block the body only produces a ludicrous effect: in this sense, the speaker does not have the actor's ability to reproduce gestures expected, nor should acquire it. The models of the past offered the image of speakers tasks, strutting, almost plaster, clung to a lectern
. Even the best sellers American Decalogues disturbing spread of what was right or wrong in public speaking, sowing panic among the novices and providing stereotyped models to experts. In reality there are no rules, it is important to "get" the people, establish a dialogue, although apparently there is no answer from the audience. How? Being truly himself up with great enthusiasm and availability. The reporter has to be the interpreter of his message, but it should not ever create a character. This becomes a caricature, the mask: a filter that is generated unacceptable by reason and stops the spontaneous emotion. It 's more interesting to hear a speaker say: "I am excited" who do not suffer with him while he sweats, he moves awkwardly, not find the words, but denies the emotion beneath a mask of apparent tranquility. However, some considerations on the body are believed to be important for public speaking. For example, the eye should be addressed to any audience, and occasionally stopped on a group of people: in this way, the view will make everybody feel involved, and to dwell on a few, always different, you may want to personalize the . In the dining room must move strutting stay in one place creates boredom. Finally, the entry must be an active agent, to change the tone and amplitude to give rhythm to the statement.
For today I would stop here, I greet you and appearance next Wednesday with the final post on public speaking. Hello
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